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  • Cited by 6
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    This article has been cited by the following publications. This list is generated based on data provided by CrossRef.

    Schrimshaw, Will 2015. Exit immersion. Sound Studies, Vol. 1, Issue. 1, p. 155.

    Arias, Ricardo 2013. Rakes, Live Deaths and Modified Cassette Players: Three Contemporary Sound Artists from Colombia. Leonardo Music Journal, Vol. 23, Issue. 23, p. 41.

    Kane, Brian 2015. Sound studies without auditory culture: a critique of the ontological turn. Sound Studies, Vol. 1, Issue. 1, p. 2.

    Gurevich, Michael 2015. Interacting with Cage: Realising classic electronic works with contemporary technologies. Organised Sound, Vol. 20, Issue. 03, p. 290.

    Moseley, Roger 2015. Digital Analogies:. Journal of the American Musicological Society, Vol. 68, Issue. 1, p. 151.

    Mackrill, Jamie Cain, Rebecca and Jennings, Paul 2016. Proposing a Conceptual Framework to Develop the Hospital Soundscape Through Visual Communication. The Design Journal, Vol. 19, Issue. 3, p. 491.


Sound Art and the Sonic Unconscious

  • Christoph Cox (a1)
  • DOI:
  • Published online: 01 April 2009

This essay develops an ontology of sound and argues that sound art plays a crucial role in revealing this ontology. I argue for a conception of sound as a continuous, anonymous flux to which human expressions contribute but which precedes and exceeds these expressions. Developing Gottfried Wilhelm Leibniz’s conception of the perceptual unconscious, I propose that this sonic flux is composed of two dimensions: a virtual dimension that I term ‘noise’ and an actual dimension that consists of contractions of this virtual continuum: for example, music and speech. Examining work by Max Neuhaus, Chris Kubick, Francisco Lopez and others, I suggest that the richest works of sound art help to disclose the virtual dimension of sound and its process of actualisation.

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Organised Sound
  • ISSN: 1355-7718
  • EISSN: 1469-8153
  • URL: /core/journals/organised-sound
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